University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 9-2012 Mary Walker Phillips and the Knit Revolution of the 1960s Jennifer L. Lindsay Smithsonian Associates/Corcoran College of Art + Design, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Lindsay, Jennifer L., "Mary Walker Phillips and the Knit Revolution of the 1960s" (2012). Textile Society of America Symposium Proceedings. 710. https://digitalcommons.unl.edu/tsaconf/710 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Mary Walker Phillips and the Knit Revolution of the 1960s Jennifer L. Lindsay [email protected] The talk I delivered at the Textile Society of America’s 13th Biennial Symposium on Thursday, September 19, 2012, entitled “Mary Walker Phillips and the Knit Revolution of the 1960s,” was part of an Organized Session entitled “Knitting: New Scholarship, New Direction,” moderated by Karen Kendrick-Hands. The material I presented is distilled from several chapters of my Master’s thesis, “Mary Walker Phillips: Creative Knitting and the Cranbrook Experience” completed in 2010, which is the first scholarly examination of Mary Walker Phillips and her work. My thesis research was supported in part by a 2008 Craft Research Fund Grant from the Center for Craft Creativity and Design, Hendersonville, NC, that made it possible for me to visit archives and museums holding artworks and papers by Mary Walker Phillips, including Cranbrook Academy of Art Museum and Archives, The Smithsonian National Museum of American History, Division of Home and Community Life, Department of Textiles, and the Art Institute of Chicago, Department of Textiles. I also conducted interviews in person and by phone of friends, family members, and colleagues of Mary Walker Phillips, 1923-2007, including Glen F. Kaufman and Jack Lenor Larsen. I am grateful to all the individuals and institutions that generously facilitated and funded my scholarship. “Knitting” and “modernism” are inextricably linked in Mary Walker Phillips and her abstract, architecturally inspired wall hangings. Mary Walker Phillips’s work in the medium of knitting emerged in the 1960s out of two parallel knit revolutions – a revolution in mass-produced fabrics away from woven fabrics and toward knits, and a hand-craft or “DIY” revolution, similar to today – a period when not only trained artists, but also everyone else, wanted to experience the joy of creating something by hand. Today, Mary Walker Phillips, Elizabeth Zimmerman, and Barbara Walker are generally recognized as the three most influential hand knitters of the twentieth century. In the 1960s and 1970s these women revitalized and popularized hand knitting through mass-market knitting books and hands-on workshops. But in addition to making the techniques and artistic potential of knitting accessible to a wide audience of contemporary hand-knitters through books and workshops, Mary Walker Phillips was an artist on the vanguard of the American Studio Craft movement. From 1946-47 and again from 1960-63 Phillips attended Cranbrook Academy of Art in Bloomfield Hills, Michigan to study contemporary weaving and textiles. Starting in the 1930s, studio artists like Phillips were trained in traditional crafts like weaving, metals, wood, and ceramics at a handful of progressive schools like Cranbrook Academy of Art and Black Mountain College that developed in America, based on European models, to create new forms appropriate for modern living.1 The post-war generation of artists trained in craft media typically designed for industry or did work in their medium of choice, 1 See generally, Jennifer Lindsay, “Mary Walker Phillips: Creative Knitting and the Cranbrook Experience” (master’s thesis, teaching and exhibiting in local and national craft competitions, independent galleries, and museums. The Museum of Modern Art and the Museum of Contemporary Craft in New York and the de Young Museum in San Francisco were among the earliest leading institutions promoting contemporary art, craft and design through exhibitions. These artists and supporting institutions subsequently fueled the public’s appetite for good design in modern, industrially produced products, in hand made art objects for the home, and ultimately for making things themselves. Phillips’s education in contemporary weaving and textile design at the Cranbrook Academy of Art shaped her vision and her work throughout her life. Cranbrook’s curriculum emphasized the individual artist’s development of form through direct, hands-on experimentation with materials and techniques.2 The Weaving Department, established in 1928 by Loja Saarinen, wife of Cranbrook’s principal architect and first president Eliel Saarinen, was internationally renowned.3 At Cranbrook, Phillips studied with Marianne Strengell, an award-winning Finnish weaver and textile designer who succeeded Loja Saarinen in 1943 as Head of Cranbrook’s Weaving Department.4 In the 1940s, Strengell modernized the curriculum at Cranbrook to teach students the skills needed to design prototypes for architects and industry rather than to make one-of-a-kind art textiles.5 Strengell’s aesthetic hallmark was known as “Scandinavian modern.”6 During the post-war era, textiles designed by Marianne Strengell, and her noted cohort in contemporary weaving, including Dorothy Liebes, Anni Albers and others, defined America’s domestic and corporate interiors.7 For example, in the late 1940s at the General Motors Technical Center, a project of the architect Eero Saarinen, Marianne Strengell’s custom-woven upholstery and rugs were featured in the ultra-modern lobby of the Research Administration Building.8 Strengell also designed upholstery for use in automobile interiors.9 Phillips’s work throughout her life was distinguished by exceptional and meticulous craftsmanship. As a special student of Marianne Strengell’s at Cranbrook in 1946-47, Phillips received high praise for her design ability, her speed, and her fine workmanship.10 She won an award at Cranbrook in 1947 for a fabric woven in an abstract linear style that Strengell favored, and that is still in the collection of the Cranbrook Art Museum.11 After attending Cranbrook in the 1940s, Phillips developed a following in her 2 Ibid. See also, Clark, et al., Design in America, Chapter 5. 3 Ibid. See also, Clark, et al., Design in America, Chapter 8. 4 Lindsay, M.A. Thesis, pp. 28-40; Clark, et al., Design in America, Chapter 8. 5 Ibid. 6 Ibid., and Interview of Glen F. Kaufman by Jennifer Lindsay, Athens, GA, February 23-24, 2009. See also, Ed Rossbach, “Marianne Strengell,” American Craft, Vol. 44, No. 2 (April-May 1984): 8-11. 7 See generally, Lindsay, M.A. Thesis, pp. 28-48; Clark, et al., Design in America, Chapters 5 and 8. See also, Ed Rossbach, “Fiber in the Forties,“ American Craft, Vol. 42, No. 5 (October – November 1982): 15-19; “The Glitter and Glamour of Dorothy Liebes,” American Craft, Vol. 43, No. 6 (December 1982 – January 1983): 9-12; and “Marianne Strengell,” American Craft, Vol. 44, No. 2 (April-May 1984): 8-11. 8 Clark, et al., Design in America, Chapter 5, pp. 114-16 and Fig. 98; Chapter 8, 198-99. 9 Clark, et al., Design in America, Chapter 8, pp. 198-99. 10 See, generally, the comments of Phillips’s instructors. Mary Walker Phillips Excerpts and Miscellanea File, Cranbrook Archives. 11 Mary Walker Phillips, Yellow Curtain Fabric, 1947. Woven, 113 x 34 7/16 in. CAM 1964.17. Bloomfield Hills, MI, Cranbrook Art Museum. Rossbach, “Marianne Strengell,” American Craft, Vol. 44, No. 2 (April-May 1984): 8-11. 2 hometown of Fresno, CA in the 1950s for her custom-woven, award-winning suiting fabrics and fine table linens.12 Today, however, Phillips is best known for “tak[ing] knitting out of the socks-and-sweater doldrums,” as her long-time friend Jack Lenor Larsen quipped.13 In 1978, she was admitted to the American Craft Council as a Fellow for being “the first to introduce knitting as a form of artistic expression.”14 What distinguishes Mary Walker Phillips’s work in knitting is that it is so firmly grounded, through Cranbrook Academy of Art, in the emergence of modern design, studio craft, and “fiber as art” in America. Phillips’s boldest contribution to knitting was to divorce it from the human body and push it into the realm of architecture, interior design and fine art. A monumental, restrained wall hanging in linen and silk, entitled Shells, 1967, in the collection of the Art Institute of Chicago Department of Textiles, is characteristic of her work.15 By 1960, when Phillips returned to Cranbrook to obtain her BFA and MFA degrees in Weaving, a revolution in contemporary textiles was already underway that ultimately changed her focus from weaving into knitting. In part in response to more limited professional opportunities in industry, artists and designers emerging in the late 1950s and early1960s sought to create fabrics that could not easily be replicated by machines and to weave one-of-a-kind art textiles for the first time since Loja Saarinen’s pre-war heyday.16 They looked to natural and new materials and to older techniques like knitting, netting, knotting and crochet to produce new fabric structures and an expanded vocabulary of multi- dimensional, sculptural and textural effects. Weaver Alice Parrot, a Cranbrook graduate who settled in New Mexico to study Navajo weaving, commented at this time that she had grown tired of what she termed Cranbrook’s emphasis on “placemat neatness” in her work.17 Fellow Californian Ruth Asawa, who studied with Anni Albers at Black Mountain College in the 1940s while Phillips was first at Cranbrook, is another example of this shift.